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[…]and arithmetical figures, to denote objects which were not yet named […] exposed [the observer] to the commission of errors so much […] there was not a hope of proving their existence or extent (2). Barthes concedes: “there may be a third textual entity: […] the unreaderly text […] the red-hot text […] whose function […] would be to contest the mercantile constraint of what is written; this text […] armed by a notion of the unpublishable, would require the following response: I can neither read nor write what you produce, but I receive it, like a fire, a drug, […]
[…]work. (242) And Emma Donoghue, author of Life Mask, The Sealed Letter, and Frog Music, comments: [M]y original impulse was very much to represent the ones who’d been left out, like the nobodies, women, slaves, people in freak shows, servants, the ones who are not powerful. I felt an obligation: if I was going to write about them at all, I wanted to give them their little moment in the sun. To name them, even if they were incredibly obscure figures. (81) Of course, one obvious advantage of writing about figures who were denied a voice in historical accounts is […]
[…]of these technologies: rejecting digital humanities for its novelty or its use of tools heretofore shunned by the traditional humanities, they both call for those who identify as practitioners of digital humanities to take advantage of what many consider to be their dual citizenship in academia – that is their unique position to bridge the great divide between STEM and humanities fields – by using their intimacy with the digital as a means to offer a humanistic critique of these technologies. In the words of Liu, this translates to a digital humanities that “[practices] instrumentalism in a way that demonstrates […]
[…]U! She read it through and then went back to the first line, puzzled. U B the asterisk? Was she tootoxed or not toxed enough? You be the ass to risk. Gina nodded. For all she knew, she was looking at the secret of life. — Pat Cadigan, Synners (1991, 142) Noah Wardrip-Fruin excels at illuminating the not-so-obvious, regularly serving up Eggs of Columbus, concepts that seem entirely self-evident once he has explained them, but which somehow elude understanding until he opens our eyes. Consider his indispensable ELIZA effect, the tendency of formally simple software to elicit investments of meaning […]
[…](2) but in this article they explicitly chose not to do it, because their objective was to open up a debate within an Anglophone academic context they both take part in. Also, because despite the partial valuable efforts of Anglophone DH institutions to include “DH initiatives in other languages and contexts”–such as the DHQ initiative to publish bilingual dossiers about DH in languages other than English, like the already published dossiers in Spanish, Portuguese or French– they admit that a lot more should be done beyond inclusiveness “hopefully eschewing the construction of any sense of centre/periphery or ‘one true DH’.” […]
[…]and purpose of that subject. By exposing and analysing some of those tensions, Peter Schwenger’s latest book sets the stage for a phenomenon often thought of as a particular type of visual poetry, but which is now gaining sufficient prominence to be considered a genre in its own right: asemic writing. Based on a tension between play and constraint (akin to Roger Caillois’ use of ludus and paidia, respectively), asemic writing is usually described as the purposeful loss of meaning. This loss goes all the way to down to the limit of its minimum indivisible units, expressly, seme, or signs. […]
[…]discourse not only the space to exploit different modes of representation but also the space to test philosophical systems of presentation in our conception of the digital environment. 4. Conclusion The poetic practice behind 88 Constellations for Wittgenstein (to be played with the Left Hand) is a metaphysical reflection that joins together new possibilities to grasp and reformulate Wittgenstein’s philosophical concepts through digital rhetoric and intermedial practices. It seems to us that the degree of integration between digital rhetoric and philosophy maximizes its complexity when digital rhetoric figures are formed, since to form such figures the philosophical concepts ought to […]
[…]is both extended and transformed by way of the digital supplement, and that while some of “[t]he content is repeated between the print and the online versions, … the experiential aspect of moving through the text is drastically different” (CITE). Wershler’s work in NICHOLODEONLINE is a useful place to situate a discussion of Canadian literature’s uneasy relationship with the digital, as his clear adoration for Nichol’s work–which Braune calls his Nicholphilia–is shared strongly by much of the Canadian literature community. In Ontario poetry circles especially, Nichol is a patron saint, a leader in the lyrical and the avant-garde, the sound […]
[…]education, particularly the arts and humanities. My first aim with this gathering and my essay was to foreground a subtle but significant shift in critical emphasis. This shift is evident at ebr, but also other affiliated sites and forums, journals and other venues of literary activity, sites where writing is appreciated and examined as aesthetic praxis. Art does something in the world. At the same time, we are thinking about writing as a vital eco-critical activity, literary activity, communicative activity that entails the use of language, words, letters in order to better orient ourselves, our species, within dynamic, turbulent environments. […]
[…]team to make do under rapidly changing circumstances, and in the face of conflicting information and guidelines, in the hopes that it is helpful to others navigating similar circumstances. What Does it Mean to Conference? In order to rethink the conference, we first have to think about what a conference fundamentally is. At its best, the conference is a place to present one’s newest project and get feedback, hear about other people’s newest projects, and build one’s network, both by finding new collaborators and by strengthening existing ties. The annual conference of one’s research community is often viewed as a […]